A Masterpiece of SF: Director Hirokazu Kore-eda on Why His Humanoid Robot Went to the Forest [★FULL Interview]

*This content was translated by AI.

Director Hirokazu Kore-eda has returned to SF. The AI era has captured the attention of a global master. Kore-eda's SF film "The Sheep in the Box," which centers on family stories, offers audiences thought-provoking material.

On the morning of the 5th, Director Hirokazu Kore-eda held an interview at the NEW building in Nonhyeon-dong, Gangnam-gu, Seoul, and shared insights about his film "The Sheep in the Box."

The film "The Sheep in the Box" tells the story of a 7-year-old humanoid who enters a home to replace a deceased child, experiencing the joy of finally becoming a family and the anxiety of potentially being abandoned again. Director Hirokazu Kore-eda, known for "Shoplifters" and "Monster," has reinterpreted the era's central theme of "AI and humanoids" through his unique family narrative.

Director Hirokazu Kore-eda began the film after hearing a story in Shanghai about generative AI businesses that resurrect the dead. He stated, "I wanted to pose a question rather than deliver a message: 'Who does the dead belong to?' In the film, humanoids develop self-awareness and form groups, but that was not the core of what I wanted to convey."

Director Hirokazu Kore-eda shared, "Recently, I read in the news that generative AI is now conversing with each other without human intervention. I felt this closely aligns with the ending of 'The Sheep in the Box.' I wondered if such events are already occurring and whether will or self-awareness might emerge within a collective of humanoids. Pushing further, I questioned whether what humans consider 'self' truly exists."

Although "The Sheep in the Box" is an SF film, it retains Director Hirokazu Kore-eda's distinctive style. To unify disparate themes like robots and humans, or robots and nature, he employs narratives reminiscent of fairy tales and fables. Notably, the film's final scene, where a humanoid robot and an abused child retreat to a forest to live, is particularly striking. Why did Director Hirokazu Kore-eda send them to a forest in the mountains?

Director Hirokazu Kore-eda explained, "I believe that as AI communicate with each other, connecting through invisible means and developing intelligence, this process is closer to the relationship between trees than to human connections. Recent studies have even suggested that trees possess intelligence. Trees form connections, create forests, and build communities. In that sense, I felt forests of trees are more compatible with AI than human society, which is why I crafted the ending that way. If AI were to seek friendship, I thought it would be with trees and plants rather than humans. I hope viewers understand it this way." He added, "Machines and forests are fundamentally different. I wanted to connect these two elements. As the film's dialogue suggests, while it is difficult to unite such disparate elements, it is also fascinating."

The film charts a different course from previous works dealing with AI or humanoids. Consequently, "The Sheep in the Box," which recently competed at the Cannes Film Festival, received divided reactions.

Director Hirokazu Kore-eda remarked, "I met many people at Cannes, and they frequently told me the film was overly optimistic. Western audiences were taken aback by it. They harbored fears that generative AI might dominate humans and threaten human society. Through interviews, I learned about these perspectives." He continued, "There is a difference between Eastern and Western thinking. Western civilization is human-centric, whereas Japan does not view humans as the sole center. In this film, I placed humanoids ahead of humans. In that regard, I do not consider it an overly optimistic film. In the final scene, adults cannot live in the forest and return to the human world."

Director Hirokazu Kore-eda also shared his views on the opposition to using AI in the film industry. He stated, "There is a movement, centered in Hollywood, to ban the use of AI. People worry that jobs will disappear, particularly for stunt performers and actors. If we consider only cost-effectiveness and efficiency, most current jobs would be handed over to AI. In Japan, AI is already handling many tasks, and this trend has reached film sets." He added, "If this continues, all films will become similar and lose their appeal. What matters most is the creator's inquiry. If we focus solely on safety and efficiency, when filming a scene of a car driving, we would place the car in the studio and only change the background. However, I prefer to film while the car is actually moving. When filming in Korea, actor Bae Doona said, 'I want to feel the wind while filming car scenes,' and I agree with her."

Finally, he added, "I also questioned the shift from film to digital. What matters most is the creator's perspective. A movement to reject AI entirely, as seen in the United States, seems to lack significant meaning."

Director Hirokazu Kore-eda revealed plans for future projects: "One more film will be released this autumn, and I plan to shoot a film in the United States next year. I also intend to continue filming Asian-set films featuring Korea, China, and Japan. Please look forward to them."

Director Hirokazu Kore-eda, who previously collaborated with actor Dong-won Kang on "Broker," will face off against Kang's film "Wild Thing" with "The Sheep in the Box." He commented, "I watched the trailer for 'Wild Thing' yesterday. I want to meet Dong-won. In theaters, I said, 'It's Dong-won, I want to meet him.' He seems too young; he hasn't changed at all."

Meanwhile, "The Sheep in the Box" will be released in theaters nationwide on the 10th.

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*This content was translated by AI.